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Although a bit noir-sh at times, and produced during the golden era of that film genre, this is by no means a pure film noir. Rather, "Tension" is a B-movie version of the melodramas popular at all of the studios during the late 40s. And, certainly, as suggested by other posters, this film has no business being compared to Hitchcock.

Overall, I am pleasantly surprised with the talent, direction, script and locations.

Granted, the whole "Clark-Kent-wearing-glasses-isn't-Superman" form of disguise is ludicrous, but it has always been an accepted modus-operandi for the concept of hidden identities on stage, film and TV. The performances of all of the leads are good - none chew the scenery. Basehart never "got his due" as an actor, as I'm afraid most remember him as the captain on TV's "Voyage to the Bottom of the Sea" in the 60s. Totter is excellent, and while Cyd Charisse is little more than set dressing, she requites herself well.

The techniques of law have certainly changed, as the means of tricking the guilty party in this film is nothing less than entrapment.

And for those of you interested in architecture, that great Deco-ish apartment complex featured in the film is still much the same 55 years later, even down to the vines on the railing. It is located off West Olympic Blvd, just west of Century City (across from Pavilion's, behind hotel). By the way, contrary to what a previous poster states, most of this film takes place in Culver City - only the beach house and apartment complex are "in" Malibu. Being an MGM film, they stuck close to home with locations.

UPDATE: Bad news - that beautiful apt. complex is coming down in 2006. Now THAT is a crime!

Update 2: Jan 2007 - the building is still there.

Update 3: Oct 2008 - they're moving people out by 2010.

Update 4: October 2013 - still there!!

This is in a category of its own. The central role of a bad, bad girl is played by Audrey Totter with such spectacular power and intensity that you would think it would break the projectors in the cinema. She was like an earthquake on screen. She was also well supported by superb performances from Richard Baseheart as her husband, Barry Sullivan as a sardonic detective, and the elegant Cyd Charisse who exerts her powerful charms in a non-dancing role. This film does not conform to any strict formulae of noir construction, is almost quirky, but is a genuine classic of the genre by breaking so many of the rules. There is no murder for absolutely ages, but we forget that we are waiting for it, so mesmerised are we by Totter. The balance of attention shifts from character to character, and there is a lot of misdirection of attention to keep the audience guessing. This is absolutely not a film about a murder, which in itself is incidental. This is a powerful psychological study of extreme character types. There are absolutely superb minor touches of direction throughout, and John Berry, the director, would have had a future as one of the top directors in Hollywood after this if he had not been blacklisted. William Conrad (later 'Cannon' on TV for 102 episodes) was just as fat a cop then, and Barry Sullivan actually pulls a bag of popcorn out of his hand, gives it to a passing stranger, and pats Conrad on his bulging stomach to admonish him. The film is full of little things like that which are creative embellishments added by a director with his imagination and his eye both in top gear. The best touch of all is the stretching of a rubber band throughout the film by Barry Sullivan, who says 'everybody has his breaking point', and snaps the band. In the scenes with the greatest tension, the band comes out and gets stretched and stretched. In one amazing scene, Sullivan and Totter even stretch the rubber band together with their fingers both entwined in it absentmindedly, while the psychological tension builds. This use of the rubber band throughout the film as a motif actually works, because it is done so well and with such extraordinary subtlety. All the suspects are under tension bigtime, hence the title. There are many good lines, such as Sullivan saying to Totter: 'I've got a file on you going back as far as you can remember and into the future as far as you dare imagine.' They end up kissing. This film positively reeks of classic noir elements, while being put together in an original manner. We have irrational passion, greed, amorality, lust, love, betrayal, selfless devotion, murder, as well as an inability to kill despite wanting to. It's all there. Just add DVD and stir.

Putting glasses on the very versatile Richard Basehart and sticking him with a drugstore and a faithless trophy wife (Totter) is almost inspired. His Warren Quimby is such a timid, dependent little guy, and when wife Claire thrusts out her ample chest at any well-dressed man who walks by, we feel for the put-upon pharmacist. He's working day and night trying to please her, but she could care less, especially when she hooks up with the flashy Barney Deager (Gough) and rubs Warren's nose in it. Or rather it's Deager who does the nose-rubbing in the sands of his Malibu beach house. Now Warren may be no Clark Kent, but he's finally had enough humiliation, and there is an alter-ego waiting to break out of that timid soul. The alter-ego is named Paul Southern. He doesn't wear a red cape, but he does sport a very unWarren-like checked jacket and no glasses. More importantly, he's got a plan, a nifty plan for revenge on his two tormentors. In the meantime, he's picked up a new girl (Charisse) who admires the forceful Southern style. So now Quimby-Southern is ready for a new life with his new girl once his nifty revenge plan succeeds.

I just wish the second half succeeded as well as this riveting first half. But the focus shifts abruptly over to wise-guy cop Bonnabel (Sullivan) and we lose the compelling thread of humiliation and revenge. It's almost like the script didn't know what to do with Basehart following the Malibu showdown. The remainder of the film plays out in kind of fuzzy, not very believable fashion. It's like a screenplay in two very unequal chapters. The movie is another of Dore Schary's attempts to bring sunny MGM into the post-war world of noir. Like many of the others, the effort here only partially succeeds. There's some good location photography and an excellent cast. However, director Berry adds little to the erratic script, and I'm tempted to say that neither he nor the studio had a feel for this kind of RKO material. Nonetheless, that compelling first half remains.

Why is everyone here comparing this (unfavorably) to Hitchcock? Apples and oranges! What this is is a damn good little B mystery lifted to art by the estimable, underrated Audrey Totter and an evocative score by Andre Previn. He reused the theme here years later in the much more well known Cat on a Hot Tin Roof. Parenthetically, can anyone think of a movie that wasn't bettered by the presence of the fabulous Miss Totter? Let's file belated criminal charges against M-G-M for misusing this dream girl!

The cast was my main reason in seeing 'Tension'. Richard Basehart, Audrey Totter, Cyd Charisse, William Conrad and Barry Sullivan were all actors of considerable talent and all did fine work in other films of theirs. 'Tension' is also another film that had a very interesting sounding story, and also watched it due to loving mystery and noir-ish films and due to loving classic film. Having seen some very well done films recently in the same genre and similar, there was a lot of high expectations.

High expectations that were mostly met if not exceeded. 'Tension' has a lot to recommend and it is another recently seen film that is rather under-valued. It is though uneven and one half is better than the other, something that has already been picked up to a few. There are better films in the mystery and noir genres, but also worse and in no way should 'Tension' be compared to Hitchcock. Not a fair comparison and something that it was not striving to be.

Am going to begin with the good. Generally, 'Tension' looks good. Particularly the moody and smooth photography and eerie lighting. A young Andre Previn provides a score that gels beautifully with the atmosphere and even enhances it, sounding very ominous and unsettling. While the direction is not exceptional it is at least competent, especially in the first half. The script is intelligent and tightly paced.

On the whole the story absorbs, though it is not consistent. The first half is great, very intriguing and atmospheric without taking too long to set up. The best thing about 'Tension' is the acting, Basehart contrasts his two roles beautifully and with ease and Totter is a smouldering knockout and steals the film. Conrad injects his role with a lot of juice and Charisse is charming despite her character being on the one-dimensional side.

With all that being said, 'Tension' isn't perfect. The second half is not as strong. The tone shift is abrupt and jarring and the storytelling in the second is not as focused or as riveting, could have done with more tension and surprises. The conclusion and the truth are not hard to figure out at all.

For my tastes, Sullivan is on the bland side. Will agree too that some of the rear projection is distractingly fake.

Concluding, pretty impressive. Rough around the edges, but with more than enough to earn a recommendation. 7/10.